There is a chance.
It's not as simple as measuring in the digital domain. The Dolby TrueHD format is encoded using channel extensions, so there is no "raw data, bit-for-bit off the disc" signal to measure as you claim.
Here's a relevant section from the Dolby TrueHD tech paper
that explains how it isn't simply 7.1 discrete channels stored on disc:
Channel Extensions, Downmixing, and Dolby TrueHD
One channel extension technique is the method by which MLP Lossless, Dolby TrueHD, and MPEG-2 LII deliver compatible downmixes for soundtracks with expanded channels. In these codecs, a 7.1-channel soundtrack is first downmixed to create a 5.1 mix, which is supplemented by a two-channel extension (which we'll call extension B). The 5.1 mix is then further downmixed to a two-channel stereo mix, and another supplemental stream is created that carries the 3.1-channel extension A. So the 7.1-channel program is delivered in three separate components: a two- channel mix, the 3.1-channel extension A, and the two-channel extension B.
The total payload is still 7.1 channels, with preconfigured subsets to create two-, 5.1-, and 7.1-channel presentations. If a listener desires a stereo presentation, the decoder plays only the two-channel downmix, thereby minimizing DSP resources for the simplest hardware productsa useful idea. If a listener selects a 5.1 presentation, the decoder reconstructs it from the ￼￼￼￼￼￼￼two-channel downmix plus the 3.1-channel extension A substream by means of rematrixing. If a listener wants a 7.1 presentation, the decoder reconstructs it by rematrixing the reconstructed 5.1-channel program with the final two- channel extension B substream.
This all works nicely on paper. However, when used with lossy codecs that rely on psychoacoustic principles such as noise masking, this rematrixing can reveal coding artifacts that were otherwise inaudible. It's not that the coding artifacts have increased; instead, they become physically separated from the sound that originally masked them. As a result, the main sound and the coding artifacts may be directed to different loudspeakers, taking different acoustic paths to the listener and resulting in a phenomenon called coder unmasking.
Different Strategies for Differing Coding Technologies
Other codecs using a lossy core paired with a lossless extension treat them together, with the inevitable result that one or the other suffers. Either the lossy audio is potentially degraded by rematrixing, as explained earlier, or the lossless audio payload is materially increased because of the extra channels it carries. We chose to handle the lossy and lossless codecs independently, thereby elegantly avoiding these compromises by using the optimal method for each codec.
Due to the substream structure of Dolby TrueHD, a single Dolby TrueHD program can be used to deliver a two-, six-, or eight-channel presentation, each with precise control over the presentation as defined by the content producer. This means that an HD player needs to decode only the number of channels it can output, thus enabling more economical DSP decoder designs.
It should be noted that it is also possible for the two- and 5.1-channel presentations to be carried independently if it is important to avoid downmixing due to artistic reasons. In this case, however, the bit rate will increase due to the carriage of additional channels.